Stranger Things – What To Watch Next

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Ante K. Lundberg guides you through a personal list of films that inspired and informed Stranger Things, plus some his own choices, just for fun. 

So you’ve finished the latest season of Stranger Things, and you’re looking to fill that hole in your heart it’s left you? Well, you’re not alone. As a child of the 1980s, I find myself in the middle of a resurgence of film, television, video games and music made by my generation that is inspired by the 80’s. And it’s beautiful.

I was born in 1985, the year of a certain summer in the town of Hawkins, as seen in Stranger Things 3. Notable cinema releases that year included true classics such as Back to the Future, The Breakfast Club, Day of the Dead, Weird Science – and many more.

As requested by the ancient editor of Out of Dave’s Head, I’ve gathered a list of recommended films for viewing if you, like me, just can’t get enough of the ‘80s love that is happening right now. Some of the films on here have inspired the Duffer Brothers in creating and writing Stranger Things, others are just perfect examples of wonderful ‘80s cinema. These are the real deal, friends, so put on your Walkman, rewind that tape, and let’s get to it!

Stand by Me, director Rob Reiner, 1986

A group of young friends discovering who they are, the meaning of friendship, and life lessons? Check. Walking along a railway? Check. Small town thugs terrorizing our teen heroes? Check. While set in the 1950s, Stand By Me is an ‘80s film through and through, with a cast including young Wil Wheaton, River Phoenix, Corey Feldman, John Cusack and Kiefer Sutherland! Based on a novella (The Body) by legendary author Stephen King, Stand By Me is a genuine, grade A classic, full of character, fun and heart.

The Lost Boys, director Joel Schumacher, 1987

There’s hardly a more ‘80s-looking and sounding film than The Lost Boys. This is the whole package; the music, the costumes, the hair. It also has Tim Capello shaking his sweaty, muscular hips and saxophone, and a healthy dose of teenage vampires living forever, led by (there he is again) a young, menacing Kiefer Sutherland, the hilariously bad vampire hunters the Frog Brothers (featuring that other ‘80s Corey… Haim), and a cracking, fast pace. Trust me, you won’t be bored by this one.

Evil Dead 2: Dead By Dawn, director Sam Raimi, 1987

I’m not in any way saying you shouldn’t see the original Evil Dead, but the sequel not only (kinda sorta) recreated the first film in the intro, it went way beyond the original with a fantastic combination of fear, blood and laughs. If you’re looking for one of the most hilariously over-the-top splatter comedies out there, Evil Dead 2 simply set the bar. Bruce Campbell’s performance is one for the ages, with some of the most amazing physical comedy ever put on film. It’s not without reason his wonderfully awkward-yet-badass leading chin Ash Williams got more films and recently a series, Ash vs Evil Dead – which is also well worth a watch! In addition, fans of Stranger Things 3 will find the cabin-under-siege setting nicely familiar!

Aliens, director James Cameron, 1986

James Cameron has made two of the finest sequels ever in Aliens and Terminator 2 Judgment Day (and I haven’t even mentioned Stranger Things 3’s HUGE homage to The Terminator… oh wait, I just did). It’s common knowledge that in Aliens, the tight spaceship corridors first established in Ridley Scott’s masterpiece Alien are expanded to play host to some of the best action sequences put to film.

Aliens is a perfect mix made up of one part great production design, one part a superb cast of character actors playing a ragtag group of soldiers (including Bill Paxton and Michael Biehn – who would be a great addition to the Stranger Things cast!), one part body horror and huge parts action, all flavoured with a beautiful mother/adopted daughter relationship.

Add to that mix a scheming Paul Reiser (none other than Stranger Things 2’s Dr. Sam Owens), on great form as the company man more ruthless than the titular Aliens could ever hope to be, you’ll be hooked before you can say “game over”.

The Thing, director John Carpenter, 1982

I mean, really, John Carpenter in general, but in particular….

One of my favourite films is John Carpenter’s The Thing. Another claustrophobic body horror, set in an isolated location the characters can’t escape (see also Aliens, above), the mood in The Thing is unrivaled thanks to Carpenter’s direction and Rob Bottin’s incredible, practical animatronic work on the title creature.

Another great contribution from Carpenter, too often overlooked, is In the Mouth of Madness (1994 – yes, I’m cheating to include this, I know!), a horrifying Lovecraft-inspired film with lots of potential friends for Stranger Things’ Demogorgon.

In fact I would bet several films in Carpenter’s catalogue have inspired the Duffer Brothers in some way, as his body of work is chock-full of classics that I implore you to seek out and watch, including Escape from New York, Halloween, The Fog, Christine, Prince of Darkness and more.

Carpenter’s scores, often written and performed by the man himself, are also a huge inspiration for the Stranger Things soundtrack composers, Kyle Dixon and Michael Stein.

Pretty much everything John Hughes had a hand in during the 80’s

Yeah, you heard me. John Hughes had an incredibly creative output, and most of his stuff really is the beating pulse of ‘80s cinema. Writing and/or directing classics like The Breakfast Club, Sixteen Candles, Ferris Bueller’s Day Off, Weird Science and Pretty in Pink, he leaves us quite the legacy of movies that nicely illustrate the trials and tribulations of the teen years.

Although time has not been perfectly kind to all these films (especially in the female characters department), the look and feel are true ‘80s, unbeatably so. I recommended starting with The Breakfast Club, where you will at least have seen the gif of a totally ’80s tough guy raising his fist victoriously in the air, from one of the film’s many classic moments. “Don’t you forget about me” indeed…

Day of the Dead, director George A. Romero, 1985

George A. Romero pretty much invented the modern zombie (sans the running) with his slow, lumbering packs of dread in Night of the Living Dead (1968), Dawn of the Dead (1978) and Day of the Dead. All three should be considered classics in their own right and can be watched separately or as part of a saga where – not really spoiler alert – things do not bode well for mankind.

In Day of the Dead, odds are not in our favour, as the zombies outnumber us and the remaining human population hide in shelters, trying to find a way to survive. Romero’s zombie films are part visceral horror, part social commentary (stop teasing the zombies, really!) and, as usual, it seems our biggest threat is each other. Day’s opening sequence also plays a big part in the opening episode of Stranger Things 3.

The Goonies, director Richard Donner, 1985

Personally, I’m not a big fan of The Goonies but it’s considered by many as an essential watch, and certainly is a Duffer Brothers touchstone for their Netflix show. If you’re after a “kids on a mission” film filled with adventure, treasure and danger, then look no further, and it features Sean Astin, Stranger Things’ lovable Bob, years before he was a Hobbit for Peter Jackson.

E.T. – The Extra-Terrestrial, director Steven Spielberg, 1982

Tonally, Stranger Things owes a lot to Steven Spielberg’s lovable ET. The little guy is stuck somewhere he doesn’t belong, and is just trying to get home, despite the government suits doing their best to stop him. Cue the brilliant and inventive 80’s kids (see an ongoing motif here?) doing their damndest with what they have by hand. The film also includes that legendary bike sequence, glaringly referenced in the first season of Stranger Things.

The Deadly Spawn, director Douglas MacKeown, 1983

A fabulous and fun creature feature starring young Charles George Hildenbrandt (the son of one of the Hildenbrandt Brothers, who painted the legendary fantasy-style poster for Star Wars in 1977, as well as the poster for this movie).

The plot concerns a crash-landed alien that finds refuge in the basement of a house and grows to monstrous proportions, and the plucky band of teenagers who do battle with it. The many ghastly teeth of the monster here sure do look a whole lot like the ghastly teeth of the Mind Flayer from Stranger Things 3.

Altered States, director Ken Russell, 1980

All Ken Russell films are worth your time, but Altered States, Russell’s adaptation of the Paddy Chayefsky novel, will particularly resonate with fans of Stranger Things 3, as it runs with the idea that sensory deprivation tanks (as used by Eleven in the show) can activate hidden parts of the brain. But boy, Russell takes things in a totally wild direction that will blow your mind.

Ghostbusters, director Ivan Reitman, 1984

I don’t really need to over-explain this one, right…!? Bill Murray, Dan Ackroyd, Sigourney Weaver, proton packs, bustin’ makes me feel good, Zuul! Stranger Things 2 crosses them streams.

A Nightmare on Elm Street, director Wes Craven, 1984

I can only imagine the feeling of seeing this particular nightmare in a cinema in the 80’s (Editor’s Note: It was pretty darn good!). The now iconic Freddy Krueger was an inescapable foe, terrorizing the dreams of poor teens with knives-for-fingers and a serious case of bad skin day.

I was late to the Elm Street party and, seeing it at an older age, I found myself really digging the over-the-top scenery chewing performance from Robert Englund as Freddy. Definitely worth a watch, even though “you’ll never sleep again!”

IT, 1990

I can’t really recommend Tommy Lee Wallace’s IT miniseries from 1990, which time hasn’t treated well. The acting is wooden (Tim Curry not included, he is great), the pacing is slow and the effects are completely outdated (Editor’s Note: this calls for fisticuffs in the pub later, Lundberg). But it does have the loser’s club camaraderie seen in Stranger Things and, I’m willing to bet, was a childhood watch for the Duffer Brothers.

Rather, DO give the book a read, even if it is a long one, or see Andy Muschietti’s new two-film version that is in turn set in the ’80s and inspired by the same palette as Stranger Things. You can watch the trailer for IT Chapter Two here.

Mullets, big-haired teens in pastel and neon clothes, muscle cars and BIG songs might have defined the decade, but the ‘80s have so much more going for them in terms of entertainment. And if Stranger Things has left you with a hankering to revisit those years, this list will be a good place to begin!

About the author

Ante K. Lundberg is a movie and music buff from the fjords of western Norway. Living with his wife and two small children, he longs for the day when he yet again will be able to binge watch a series.

He wrote this essay on a straight regime of pitch black coffee, Meteor and Gunship on vinyl, and several (imaginary) training montages.

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Send In The Joker – New Trailer

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Just ahead of its premiere at the Venice Film Festival, here’s the final trailer for Todd Phillips’ Joker, starring Joaquin Phoenix.

What to make of this? It looks pretty intense and Phoenix is clearly pulling out all the stops, but frankly Phillips’ track record (The Hangover movies… oy!) causes a little pause for breath and despite the clearly well-intentioned decision to basically makes this a riff of Scorsese’s King Of Comedy I’m concerned it all feels a little too familiar, that its narrative arc may be a path already too well-trodden.

Frankly, I hope I’m wrong, I hope this film absolutely knocks it out of the park and I’ll be first in line on opening day, but I can’t help think this might not be a joke funny enough to repeat.

Joker opens on October 4th.

Once Upon A Time In Hollywood – The Manson Legacy

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Out Of Dave’s Head is proud to publish our first article by another writer; welcome aboard Jon Harman, celebrating the release of Once Upon A Time In Hollywood with a look at the cinematic legacy of the real-life horror haunting the movie.

Charles Manson has been a defining Hollywood story for 50 years, ever since the fateful and brutal killings in August 1969. With Tarantino returning to this arena in his latest offering Once Upon a Time in Hollywood, we look at the impact and legacy of the Manson Murders in cinema.

The Manson Murders took place in the summer of 1969 and were the culmination of activities by a hippy cult lead by Charles Manson, an unemployed ex-convict who had spent more than half of his life in correctional institutions. Manson’s dreams of becoming a singer/songwriter had been snubbed by Beach Boys record producer Terry Melcher and he was suffering delusions of grandeur that he was the new messiah. He was also obsessed with the Beatles, particularly their 1968 self-titled album, and was allegedly guided by his interpretation of the band’s lyrics. He adopted their song, Helter Skelter, as the text to describe an impending apocalyptic race war.

On August 8th of that year, Manson instructed his followers, Tex Watson, Susan Atkins, Linda Kasabian and Patricia Krenwinkel to go to Melcher’s house in Cielo Drive in LA and murder the inhabitants, who were film director Roman Polanski’s pregnant actress wife, Sharon Tate, her hairdresser Jay Sebring, coffee heiress Abigail Folger and her boyfriend Voytek Frykowski. The following night he instructed them and Leslie Van Houten and Steve Grogan to perform a copycat killing of Leno and Rosemary La Bianca at their residence.

Manson occurred at a defining moment for counter-culture and Hollywood, starting a transition to a post studio system, as Peter Fonda’s Wyatt uttered the immortal words “we blew it” in Easy Rider, the love affair with hippiedom was over, but the kinetic, youthful and independent style of Easy Rider was opening a door to a new cinema. Then on August 8th-9th the brutal slaying of the Tate party in Cielo Drive ensured Hollywood and violence were fused together in a thematic way that has permeated US cinema for decades, with constant reference to the perfect boogeyman in Manson. 

There are the biopic, literal tellings of the Manson story over the years, but there are also countless films that channel a Manson theme within. Very early on, numerous exploitation films captured the salacious nature of the crimes like Angel, Angel, Down We Go (1969) which was retitled as Cult of The Damned (1971) to feed off the ever growing notoriety of the case, not to mention the bizarre attempt to add two minutes of footage to Sign of Aquarius (1970) to suddenly make a Mansonesque blaxploitation flick, Ghetto Freaks (1970) which was a fusion of too many themes to comprehend).

As the investigation played out in 69 and 70, aspects were already fusing into the lexicon of cinema, such as John Waters’ Multiple Maniacs (1970), which had Divine running a circus freak show as a front for robbery and murder and convincing her husband that he killed Sharon Tate in a drug induced haze. Waters was obsessed with the case and wrote references into his film as the case unfolded, later dedicating Pink Flamingos (1972) to “Sadie, Katie & Les” (Manson’s nicknames for Susan Atkins, Linda Krenwinkel and Leslie Van Houten, the main perpetrators of the murders). Waters has spent years advocating the release of  Van Houten, describing her as his friend.

The first attempt to bring the actual Manson story into cinema was The Other Side of Madness (1971) which itself was later retitled as The Helter Skelter Murders, a strange curational mix of documentary and re-enactment footage filmed in some of the actual locations whilst never actually using any of the names from the crime. The hippie noir depiction of the crime scene is both brutal and exploitative for a film of its time with strong mondo undertones leaving it a curio in the Manson legacy. At the same time, exploitation duo Michael and Roberta Findlay jetted down to Argentina to make The Slaughter (1971) about a Mansonesque death cult resulting in a film with either very limited or no distribution until independent low-budget distributor and sometime producer, Allan Shackleton picked it up and added a notorious murder scene as the finale and calling it Snuff (1976), spawning an entire urban myth strand of modern cinema about the existence of underground snuff films in its own right (which is another whole article by itself). 

Likewise in 1971, fledgling writer/ director Wes Craven was typing out his script for what would become The Last House on The Left (1972). Whilst being an American retelling of Bergman’s The Virgin Spring (1960), it had a Manson Family undertone in its brutalism and striking similarities of character with it’s female villain “Sadie,” played by Jeramie Rain, cast just after playing Manson family member Sadie Mae Glutz in the off Broadway Manson musical 22 Years the same year. 

The zeitgeist of the Manson Murders was permeating new cinema as much as the raging Vietnam war at the time, which conflated in a later movie. Writer Peter Biskind, in his 1998 book, Easy Riders, Raging Bulls saw Marlon Brando’s Colonel Kurtz in his compound in Apocalypse Now (1980) as: 

“another incarnation of Charlie Manson, the scourge figure who had gone native and now, unchallenged, ruled over his family. The compound was his Spahn Ranch” 

The sense of crime family, hippies, war and brutality also infused the zeitgeist of Tobe Hooper’s film The Texas Chainsaw Massacre (1974), in particular the opening prologue directly cites Manson prosecutor Vincent Bugliosi’s description of the crimes as “the most bizarre mass murder case in the annals of American crime” to add weight to the false claim the film is a true story. 

1976 saw the release of CBS made for television film Helter Skelter, which depicted both the crimes and the trial in detail, based on Bugliosi’s book of the same name. Steve Railsback defined the persona of Manson for the viewing public (though retrospectively, this comes across as being quite histrionic and the film comes off as a weird episode of Perry Mason tonally), to the point he never really escaped its impact and stunting his fledgling acting career. The film reached an estimated 50 million Americans on release and thus defined much of the Manson story. CBS later remade Helter Skelter (2004) with Jeremy Davies playing a more subtle and realistic Manson, though not as eerie, this time the film focused more on the persuasive nature of Manson as guru and the lead up to the crime. 

Always lurking in the exploitative realms of cinema, Manson re-emerged in an early found footage piece that built on the earlier legacy of Snuff (1976) and ran with an assertion from Ed Sanders book The Family (1971) that they stole an NBC film crew truck and used the equipment to make snuff films. The imagined output is surreal. Manson Family Movies (1984) which is all filmed from the perspective of the family on super 8mm film and dwells on mondo-style, exploitative gore once again to entice the salacious viewer disturbed by the ever winding myths around Manson.

In the same vein, Jim Van Bebber’s The Manson Family (2003) takes a transgressive view on the subject matter and relishes in the hyperbole of cult and barbaric murder. Famously taking 15 years to produce and finish, for many murder groupies, this is seen as the definitive film of Manson. Van Bebber firmly asserts that if you cover this story, you have to cover it warts and all in an NC-17 way. The film does successfully channel a late sixties, early 70’s aesthetic in its tone and thus has a further authenticity of Manson as cinema, rather than cinema about Manson. Van Bebber has a certain connection with the Manson psyche as a film-maker, and is somewhat reminiscent when ranting to distributors about film to DVD transfers of his work too.

From this moment on, Manson as myth and cultural icon becomes a touchstone to regurgitate in direct to DVD movies or sleight of hand references in TV series. Manson, My Name is Evil (2009), House of Manson (2014), The Wolves at the Door (2016) and The Haunting of Sharon Tate (2019) all carbon copy the salacious aspects of the case, water down the nuance and add to the myth-making of Manson, whilst never really tackling anything new and can be largely dismissed for wrapping themselves in Manson iconography with little substance. It is also  difficult not to see the Family fingerprints all over most home invasion horror films of recent memory, invoking the horror of being disrupted, held hostage and murdered by some counter culture creepy crawlers, they set the narrative template for this modern American horror fable. 

Manson has also continued to guest star in such shows as American Horror Story: Cult (2017) Aquarius (2015)  or Mindhunter (2019) illustrating he is still a strong cultural bogeyman in the American psyche that people want to explore and visit. Films like Martha, Marcy, May, Marlene (2011) nicely explore the phenomenon and psychology of cult radicalisation with strong nods to Manson, without getting caught up in all the salacious aspects of the case. Equally, Charlie Says (2018) explores the indoctrination psychology and less salacious aspects through the eyes of Manson’s disciples and here we see (former Doctor Who) Matt Smith play Manson in a more subtle and believable incarnation as oppressive seductor rather than histrionic mad man.

There will of course always be room for such oddities as Live Freaky, Die Freaky (2006) – a stop motion musical comedy about the Manson crimes, or Troma’s Honky Apocalypse (2014) – that imagines an alternate universe where Manson’s proclamation of a Helter Skelter race war comes true in typical Troma, independent trash cinema style. 

It is inferred in the trailer for Once Upon a Time in Hollywood (2019) that we may actually only be getting more the guest star in cultural context of Manson this time around and possibly revisionist takes on the myth whilst delving into the transitioning movie business in 1969, illustrating how much Manson has become synonymous with Hollywood either as protagonist or background player. The film opens here next week, so we’ll know more then.

We’ve even seen one of the stars of Once Upon A Time In Hollywood, Brad Pitt, do his own modern day interpretation of Manson in Tyler Durden, of course. Rewatch Fight Club through the lense of cult radicalisation and guru instructed mayhem, compare Tyler’s speeches in the film to Charlie’s real-life speeches and you see much synchronicity.

Charlie changed Hollywood, Manson is a Hollywood story, myth and bogeyman that perpetuates to this day in so many aspects of our popular culture.

It was only natural for Tarantino as the pop culture maestro to visit and explore, having ditched other Hollywood arch manipulator Harvey Weinstein. Tarantino’s obsession with killers in his work, with numerous nods like having written Daisy Domergue in Hateful Eight (2015) as “a Manson girl out west, like Susan Atkins or something” was leading him here. Indeed what was Charlie if not the ultimate director manipulating and coercing players to act out his Hollywood scene like a doting Hollywood entourage, whilst he laps up all the attention? And we’re still talking about it 50 years on.

Jon Harman is a film producer, director and lecturer. Producing work from web series to feature films, documentaries and mind numbing live pop fare for Disney. Jon has the media bite mark scars on the leg that Quint and Hooper would drunkenly argue over. Jon also contributes to Cinema Under The Stairs podcast on Spotify. His trailer homage to Lucio Fulci and Man Bites Dog “Cool Clyde” (made when 16) is hidden on Youtube somewhere as a special easter egg.

Robert Pattinson Is Officially Your New Batman

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Warner Bros. have now officially announced that Robert Pattinson will star as the Caped Crusader in Matt Reeves’ forthcoming, The Batman.

Rumours flew out earlier this week that Pattinson and Nicholas Hoult were both duking it out in final negotiations as Reeves and Warner’s final choices, and now it looks like Pattinson punched that bit harder, as Deadline have revealed him as the victor.

Little is known about Reeves’ long-in-gestation movie, except that it will focus on the early days of Bruce Wayne as Batman, highlight more of the detective angle of the character (yay!) and that the central villains could be Penguin and Catwoman (again… boo!).

While many still think of Pattinson as “the Twilight guy,” the actor has steadily been turning out a number of critically-acclaimed roles in the past few years in films such as Good Time, Cosmopolis, High Life and The Lighthouse, and has also been cast in Christopher Nolan’s new movie, Tenet.

And director Reeves certainly did sterling work revitalising Fox’s revamp of the Planet of the Apes saga, so there’s much to be intrigued by here.

Shooting is rumoured to take place in the UK this autumn but no release date has been announced for The Batman, so I’ll be sure to light the Bat-Signal as soon as Warner Bros. give the word.


Photo by Paul Archuleta

Avengers: Endgame Makes ALL The Money With A $1.2 Billion Weekend

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As predicted here on Out Of Dave’s Head (though I’ll grant you I didn’t really need a crystal ball), Avengers: Endgame has blasted off with a record-breaking $1.2 billion opening weekend take at the worldwide box office.

Marvel’s astonishing experiment in long-form storytelling has smashed the year-old Avengers: Infinity War records by nearly $100 million in the U.S. and a jaw-dropping $560 million worldwide.

The 22nd movie in the Marvel Cinematic Universe, which launched in 2008 with Iron Man, has seen the linked multi-franchises bring home more than $19 billion in worldwide box office to date, and with a whole slate of films lined up for the forthcoming Phase 4, that figure seems likely to grow.

The much-discussed “superhero fatigue” that critics love to load onto these films seems to be pretty non-existent when it comes to Marvel movies, possibly because their release plans are carefully thought out and almost certainly because the films are far from the cookie-cutter exercises those same, lazy critics write them off as.

Long-form cinematic storytelling is certainly nothing new, of course, having been around since at least 1912, with Edison’s What Happened to Mary, before finding huge popularity in the 1930s and 1940s with the likes of Flash Gordon, Spy Smasher and The Adventures of Captain Marvel (or Shazam! as he’s now known). 

And movie sequels have been around forever, but were generally regarded as poor relations to the source material and usually awarded declining budgets and box office receipts (the original Planet of the Apes films, for example).

Star Wars and its subsequent offerings have done much to pave the way for this latest iteration, with the linked trilogies of the Skywalker saga we’ve had since 1977. But Marvel have taken this to a truly intriguing new level, launching a number of different franchises which link to form one longer narrative. Story strands, character arcs and thematic resolutions occur in Avengers: Endgame which have carried through from that first Iron Man movie in 2008. Carrying these elements across a franchise is one thing, but to test audiences with knowledge needed across multiple franchises really is quite brave for a studio, and something Marvel should be lauded for.

And while Spider-Man: Far From Home, released in July, sees Marvel’s Phase 3 come to a conclusion, the as-yet unannounced slate of Phase 4 films is likely to include Black Panther 2, Doctor Strange 2, Guardians of the Galaxy 3 (happily with James Gunn reinstated), the long-promised Black Widow movie, a likely return for Captain Marvel and debuts for Shang-Chi: Master of Kung Fu (directed by Destin Daniel Cretton) and The Eternals (helmed by The Rider‘s Chloe Zhao, and rumoured to be starring Angelina Jolie). And those are just the productions we know of, Marvel are sure to have some surprises up their sleeves.

So as Marvel sit back and prepare to work their accountants hard in the coming weeks, rest assured that we’ll likely be giving our hard-earned money to the company for some time to come.

And personally, if they continue to make films as engaging, enjoyable and emotional as these have been, I’ll be very happy to do so.

These Are A Few Of My Favourite Films: 2018 Edition

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Okay, because many folks have asked… here are my favourite nine films from 2018.

Notice I said favourite and not best. I was recently interviewed for a newspaper piece where the reporter asked my favourite three movies. This felt like a refreshing change as I didn’t feel a need to spend time over-intellectualising my responses as I might have done if she’d asked what I thought were the best three films ever.

Before I launch into my list, it’s worth pointing out I still have some catching up to do, hence no possible entries for films such as Spider-Man: Into The Spider-Verse, You Were Never Really Here or Bohemian Rhapsody.

So, with that caveat clear and without further ado, let’s head to my favourite nine (…nine, because, why not!?) films of the past twelve months…

9. Mission: Impossible – Fallout.

I have to admit the M:I films were mostly sort of washing over me, enjoyable in the moment but somewhat unmemorable bar their set-pieces. But then Fallout appeared, not only leaving me with a bill from my local cinema for having left fingernail holes in my seat, but also with a much greater enthusiasm for the previous entries. I’m gearing up for a run-through of the series at home in readiness for a second viewing of Cruise and Christopher McQuarrie’s remarkable piece of breathless skullduggery. Also, finishing off a series with two films featuring Sean Harris is always a bonus.

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8. The Rider.

Yeah, yeah, I know that it premiered in the Directors’ Fortnight section at the Cannes Film Festival in 2017, but those of us in the real world didn’t see it until its official release in 2018. Hopefully that doesn’t trigger anyone too badly.  Chloé Zhao’s contemporary western drama concerning rodeo riders feels like a top contender for the ‘film more people should see‘ award, 2018. Both painfully intimate and sweepingly widescreen, Zhao paints a portrait of a contained community with universal problems. You can read my full review here.

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7. Eighth Grade.

In many ways this shares some DNA with The Rider, taking me to a world I knew nothing about. This time, the unknown is the life of an adolescent girl in a time of social media, and this smart, sensitive, occasionally excruciating and ultimately uplifting film, from director Bo Burnham, features a hugely engaging central performance by newcomer, Elsie Fisher.

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6. A Quiet Place.

The first of two horror films in a strong year for the genre (see also Apostle, Mandy, Halloween, etc). Unfair on my behalf, but I was absolutely not expecting this from Jim Halpert from The Office. Directed and co-written (along with Scott Beck and Bryan Woods) by John Krasinski, this post-apocalyptic monster movie hits all the right beats, gradually unveiling a world of silent terror using a personable family, headed up by Krasinski and the always-excellent Emily Blunt. Understated until it doesn’t have to be, this is great, old-school horror that could easily have worked as an old Twilight Zone episode.

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5. Ant-Man & The Wasp.

Tricky one, this. I didn’t want to fill my list with Marvel movies (seeing as we had three releases from them in 2018) and I really struggled between this and Black Panther, but in the end I had (slightly) more fun with Peyton Reed’s delightfully light-touched sequel, especially since I’m the type of Marvel Geek who believes this film will pay off more once we see Avengers: Endgame.

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4. Hereditary.

Ari Aster’s uneven but striking mix of family grief and the supernatural is a divisive film, very much a case of go-with-it-or-don’t. The first three-quarters of the movie is mostly all slow-burn intensity until the final twenty minutes or so go off into full-blown hysteria (which is where many viewers seem to check out). I went with it the whole way on my viewing, but will be curious to see how it holds up next time. Worth pointing out that regardless of any future reaction, I’ll still laud it for probably the most outrageous WTF moment in cinema this year.  Review here.

3. The Meg (just kidding).

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3. The Other Side of the Wind.

Freewheeling and meticulous, Orson Welles’ lost masterpiece (never a more fitting appellation) first started production in 1970 and was only completed after Welles’ death by a team headed up by Peter Bogdanovich and producer Frank Marshall. Released onto Netflix at the end of the year, Welles’ mesmerising film is both a celebration and a satire of Classic Hollywood and avant-garde filmmaking. Review here.

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2. Roma.

The only disappointing thing about multihyphenate Alfonso Cuarón’s almost tone poem telling of a tumultuous period in the life of his childhood home-help is that I haven’t yet had the opportunity to see it on a cinema screen, seeing as it’s one of the most beautiful things I’ve laid my eyes on in a long time (to avoid a lynching by my significant other, I mean cinematically, of course). Review here.

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1. Avengers: Infinity War.

Marvel Geek nirvana. The Russo brothers and co. pulled off a remarkable, if overpacked, feat in bringing to a head ten years of films across multiple franchises while still managing to create a cultural zeitgeist moment with a single finger click. Of course, we know most of the galaxy’s missing half will be restored (…don’t we!?), but the joy, as with many comic books of the source material, is in seeing how our heroes snatch victory from the jaws of defeat. And now we don’t have much longer to wait. Review here.

Dishonourable mention: Suspiria (don’t @ me).

See you all in 2019. Feel free to leave me your favourites from 2018 in the comments below.

Captain Marvel Is Here

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Courtesy of Entertainment Weekly, the first official images of Captain Marvel have landed.

Brie Larson will star in Marvel’s first female-fronted franchise movie, Captain Marvel, as part of the Marvel Cinematic Universe (that’s a whole lotta Marvels, even before we discuss Jude Law).

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Set in the 1990s, making this a full-on prequel to everything we’ve seen before, the story will feature Larson going head to head with some fan favourite intergalatic bad guys from the comic books, the shape-shifting Skrulls. And here they are…

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The film also sees the return (or is it a preturn? Since this is technically speaking, his first appearance) of Lee Pace as Ronan The Accuser, last seen in a dance-off against the gang in Guardians of the Galaxy, Vol 1.

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Jude Law also features as Mar-Vell (in the comics, the first Captain Marvel, before Larson’s Carol Danvers inherits the title):

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Plus of course, the movie sees Samuel L Jackson as a pre-eyepatch wearing, two-eyed Nick Fury (last seen in the future, at the end of Avengers: Infinity War, dying along with half the universe just after sending out a call for help from Captain Marvel – oh, come on, that can’t be a spoiler by now).

Marvel Studios' CAPTAIN MARVEL Nick Fury (Samuel L. Jackson)

Captain Marvel  is written and directed by Anna Boden and Ryan Fleck,  with Meg LeFauve, Nicole Perlman, Geneva Robertson-Dworet, Liz Flahive, and Carly Mensch also chipping in to the screenplay, and the film takes flight on March 8, 2019. Skrulls permitting.

Hereditary: New, Old-Fashioned Scares

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I’ve seen many reviews stating that Hereditary is a “new kind of horror”, and similar nonsense. In fact, there’s very little new about Ari Aster’s film, but that doesn’t mean that what he does with it won’t creep the living daylights out of you.

Rather, what Aster and co. do is not wholly rely on what have become the standard, tired tricks of a great deal of modern horror: the jump scare of something appearing in frame, or a door slamming, the sudden burst of sound and music. Instead, we are treated to long moments of dread and unease, surrounded by a film which takes its time exploring the emotions of its central characters and wrapping it all in the universal pain of grief – in particular, how we often don’t deal with it. Only once we’re pulled in by all this does Hereditary blow up with reanimated corpses and family members crawling across the ceiling.

And then, of course, it gives us that much talked about ending, which will really test whether or not the film has you in its hooks.

Hereditary begins quietly, pulling a little Stanley Kubrick Overlook maze trick from The Shining with a model house, but doesn’t do so frivolously: it’s a great unsettling moment, revealing one of the movie’s first pieces of disturbing symbolism, teasing us that there’s something not quite right about this family home. More of the film’s themes are immediately set out as we follow the family preparing for a funeral, for the mother of Toni Collette’s Annie.

Soon enough, both Annie and her two children, Peter and Charlie, are sensing things around the house and at school, and we see the family, rounded off by Gabriel Byrnes’ father, Steve, resolutely not coming to grips with not only this death but also events that have occurred in their lives previously.

Tension builds, and Aster, along with editors Jennifer Lame and Lucian Johnston and committed performances by the cast, allow their film all the time it needs to do so, as we are gradually introduced to wilder events beyond the confines of the house and the family, before one of the truly great shock moments of cinema leads us into a more heightened third act, letting the story fully off the leash in the last fifteen minutes or so. One or two of the final scares and revelations almost threaten to derail the careful build, but by the time they come we’ve been engulfed enough by the family’s deterioration not to stop us from enjoying their obvious pleasures.

It’s difficult to discuss the final five minutes without veering into spoiler territory, but suffice to say the various breadcrumbs laid throughout the previous two hours are brought together in a truly off-kilter way, with an ending which reminded me both of Rosemary’s Baby and of Robert Egger’s modern classic, The Witch, being both truly horrific (as you understand the fates of two of the central characters) and utterly bizarre.

Hereditary allows a few howlers through which occasionally threaten its entry to the hallowed halls of classics such as the aforementioned Rosemary’s Baby, The Exorcist and The Haunting: clunky lines of dialogue here and there (“Dad, it’s the cemetery,” “About what?”), the discovery of a book (“Guide to Spiritualism”) which might as well be labelled “plot device”, and some irritatingly, The Deadly Bees level superimposed flies (yes, I’m being nit-picky, but these elements stand out like sore thumbs in an otherwise classy affair like this).

But despite these caveats, Hereditary works like a dark charm because it picks at a sore scab and works at it: grief is something most of us struggle with, and while we may not conjure up dead loved ones in an effort to deal with that grief – or at least, I presume we don’t – we are given time to empathise with the very real and raw emotions experienced by the film’s family, and the unravelling of that family as a result of their inability to deal with their pain. And that’s true horror, after all, even with the addition of a meddling witch’s coven.

To return to my original point, Hereditary might not actually offer us something new, but it does what it does to a mostly masterful level, where the simple sound of a vocal clicking is made scary, and follows the lead of John Carpenter’s Halloween by using the frame to create unease.

And if you’re unfortunate enough to have dealt with death and the ensuing emotions we’re left with, it will resonate long after a dozen pump-up-the-volume, jump scare Paranormal Nun horror movies have faded into one another.

So, Uh… About That Bond 25 Delay…

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Okay, at the risk of this site becoming the Official James Bond Herald & Tribune, hold on to your razor-trimmed throwing hats because so much has happened on Bond 25 since I last wrote about it some fifteen hours or so ago, it’ll make your head spin. And before you get your hopes up: no, Danny Boyle is still gone.

So that last report from THR suggesting that the next Bond film would miss its November 8, 2019 release spot? Well that might not be so on the mark, according to Deadline, who reported that the film would still be released on time, as long as a suitable director can be found in the next (checks Seamaster Planet Ocean 600M watch) sixty days. That seems like a pretty tight schedule for a new director to come in and hit the ground running, but the report went even further, suggesting that several names were in the frame to take on that challenge:

“I’ve heard an approach was made to Jean-Marc Vallee, who followed Dallas Buyers Club with the limited series Big Little Lies and Sharp Objects. I’ve heard his participation is unlikely due to scheduling. The other two helmers who were on a short list are Hell Or High Water‘s David Mackenzie and Yann Demange, the ’71 director who helmed White Boy Rick. If any of those filmmakers accepted, chances are Bond 25 would keep its date, I’m told.”

So, now we have the suggestion that Bond 25 will arrive in 2019, plus we have a bunch of intriguing names (who weren’t really on anyone’s radar for this gig just twenty-four hours ago). That should be enough Bond news for today, right?

Uh… what’s your hurry? Because now ten minutes or so have passed and Deadline have updated that director’s wish list with yet another name: Shaun of the Dead helmer, Edgar Wright, fresh from a Sony hit with Baby Driver (which I thought was slick but hollow, but then I’m not Barbara Broccoli, Michael G Wilson or Daniel Craig, obviously).

I’m not sure I can see Wright sticking around for this (in the same way I didn’t think Boyle would) but the production of this movie has turned into such a merry-go-round I wouldn’t be surprised if they announced Donald Trump had been approached to play the lead villain (typecasting, I know, I know…). Anyway, got all that? Swell.

Also, while this may be an interesting list of names, I’d like to see the Bond director’s Boy’s Club demolished: Kathryn Bigelow has been waiting in the wings long enough, Michelle MacLaren, Karyn Kasuma and Corinna McFarlane would all be great choices to shake up the franchise (although that might be a step too far for EON given the current turmoil).

It’s taken me twenty minutes or so to put this post together, so it’s possible everything I’ve just written is out of date. I’ll be sure to bring you more news on the soap opera that is Bond 25 as soon as it hits. Check back with me in an hour or so, huh…?

Bond To Miss 2019?

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News just in via The Hollywood Reporter that the mightily-troubled new Bond film will not hit its original 2019 release date. Specifically:

“With the abrupt exit of director Danny Boyle, the next installment in the James Bond film franchise — the untitled Bond 25 — will miss its Nov. 8, 2019 release date in North American theaters, sources tell The Hollywood Reporter.”

This isn’t too surprsing, if true, given the sudden departure of director Danny Boyle from the franchise (as revealed here). Rumours are circulating that neither the producers nor star, Craig, were too thrilled about Boyle’s developing modern Cold War thriller, and a particular bone of contention seems to have been the casting of Tomasz Kot in a leading role. This will almost certainly mean that John Hodge’s script will be jettisoned and it seems unlikely that EON Productions would return to the already-completed script by regular Bond writers Neal Purvis and Robert Wade, which was dumped when Boyle came on board.

Going back to square one to find a new director and script also puts some doubt on the return of an already reluctant Daniel Craig, so this could also mean that Craig will finish his run with the less-than-perfect SPECTRE. And that’s something none of us want to see, right?

Whatever furious scrabbling is going down in the Bond offices right now (I’m picturing something akin to the From Russia With Love train fight), at least we know they won’t be rush-releasing a script into production – an act that’s never worked out too well for Bond films in the past. The down side is that it could cost us a suitable send-off for Craig.

James Bond Will Return… but when, and played by whom?